After three albums of synth-pop, Danz CM (formerly Computer Magic) has fully embraced the “synth” and done away with the “pop.” With LÄRM!, Danz CM pivots decisively into a more conceptual and exploratory mode. Recorded entirely with analog synths and a tape machine in her home studio, the album blends the locked-in pulse of ’70s Krautrock with melodies and textures that hint at medieval music. The title, German for “noise” or “commotion,” also reflects her interest in how modern media overload shapes the way we think, and how quickly empires, ideas, and cultural touchstones fade.
The opener, “Lärm I (Hey Angel),” establishes the record’s vibe with a steady, motorik rhythm under drifting synth textures and soft, distant vocals. It’s hypnotic rather than explosive, inviting the listener into an atmosphere that mixes music and machinery. That blend continues throughout the album, which often favors mood and movement over traditional song structure. Shorter tracks like “Positive Uses of Natural Energy” and “Olga’s Revenge” function like sonic interludes; brief sketches that expand the world of the album without overstaying their welcome. Their concise format reinforces the idea that LÄRM! isn’t a pop record reshaped into something experimental, but rather an experimental record with selective pop instincts.
One of the stronger atmospheric pieces is “Painting 793 AD,” which leans into medieval-evocative melody lines without slipping into pastiche. It feels like an imagined fragment from a lost era, filtered through oscillators and tape hiss. By contrast, “Lärm III (Void)” offers one of the album’s longer, freer passages, letting analog synths drift and collide in ways that highlight the raw, unsmoothed edges of the recording process. Its extended runtime gives space for the improvisational side of the project to unfold.
Throughout the album, vocals are used sparingly and often blended into the mix rather than leading it. LÄRM! succeeds most in its cohesive atmosphere. The analog tape workflow, the motorik undercurrent, and the medieval cues all feel unified rather than decorative. Fans of Danz CM’s earlier albums may wish for more fully developed songs or clearer hooks, but the album’s strength lies in its commitment to world-building and in Danz’s willingness to leave space, ambiguity, and texture at the center. At barely over twenty minutes, LÄRM! is an album that you can listen to on repeat and appreciate the small details upon repeat listens.
